In 1967, a stomach was interviewed about its digestive woes in a TV commercial for Alka-Seltzer, the effervescent cure for indigestion. Who could predict that a talking organ would change television advertising? Its creator, the illustrator R.O. Blechman, had a hunch it would. The nervous stomach was an instant success, and viewers were charmed by its subtle hilarity, rendered with Blechman's signature, shaky, comic line.

Last Friday, Blechman, 81, was inducted into the Society of Illustrators Hall of Fame, which includes America's most illustrious practitioners from Norman Rockwell to Rube Goldberg, along with Edward Gorey, Ludwig Bemelmans, John Collier, and Nancy Stahl. That it took so long for him to be inducted is puzzling—but better late and during his still-productive lifetime than never.

You have all seen Blechman's work. Once ubiquitous in magazines, newspapers, and animated television commercials, he has minted his share of iconic images, not the least a New Yorker cover (turned into a poster) that celebrated the bright lights atop the city's great skyscrapers. His distinct, nervous line has been copied many times without capturing the true essence of his work, which lies in expressiveness of his characters.

Blechman's art foregoes slapstick. His work is genuinely humane. No one has ever duplicated the human qualities of his everyman (or everystomach). For his inventive animation, Blechman uses voices that give imbue his lines with multifaceted personalities. (I always associate Blechman's figures with Max von Sydow's dulcet voice. What other cartoonist can trigger such voices in the head?) This ability to invest emotion onto scratchy homunculi comes from his painstaking attention to gestured detail.

Blechman's every last pen stroke is deliberately composed. I've seen him draw dozens of tiny squiggly noses, for instance, on adhesive-backed paper until the right one materializes; then he meticulously cuts it out with an X-A cto knife and pastes it onto image. The final drawing is pieced together like a jigsaw puzzle. And as studied as this process is, the end product is the perfect marriage of comedy and emotion.

His ability to invest emotion onto scratchy homunculi comes from his painstaking attention to gestured detail.

When Blechman's art was on the ascent during the late '50s and '60s, he rejected the typical gag cartoon. His abstract linear economy was innovative, and so were his themes. The 1953 adaptation of The Juggler of Our Lady, which prefigured today's graphic novels, was not the usual cartoon or comic fare. His 1977 No Room at the Inn, a retelling of the nativity myth, was surprisingly warm and curiously spiritual.

It is tempting to refer to Blechman's wit as deadpan, but that designation does not take into account the inherent joy that pervades even his most somber work. His 1966 "Christmas Message," broadcast for many years on CBS, was an ecumenical animated paean to the season. A lumberjack, standing before a tree, using his saw as a violin, plays a Christmas carol. In the tree are birds—and therein is the tension between holiday tradition, consumerism, and the human condition. In the hands of more slapstick cartoonists the humor might be there, but not the cathartic power.

Blechman's first feature film, an adaptation of Igor Stravinsky's heartbreaking The Soldier's Tale, was a display of intense energy. Adapting the tale of war and its ravages to the screen was no easy feat: To make the story compelling with nervously drawn characters took him years. But from the moment it premiered, viewers were pulled into Blechman's universe. It was not simply an animated rendition of a classic work. It was a total sensory experience that transcended the existing paradigms of animation and filmmaking. And yet it was a cartoon.

Over time, Blechman's characterizations have become less everyman and more journeyman—telling more biographical stories. To become one with his characters, in recent years he increasingly embraced color. He also alternates between pen and brush, and injects collage where appropriate. These may seem like incremental advances, but in the life of any artist, shifts in conceptual thinking and technical processes are building blocks. He does his share of building every day, and he is no longer the same artist who cuts out dozens of squiggly noses to find a Platonic ideal. Blechman projects more optimism than other world-weary cartoonists, and the work, no matter how caustic, never feels like that of an artist resigned to the fates.

The newspaper cartoonist J.N. Darling once said a cartoon is "a humor-coated capsule by means of which the sober judgments of editorial minds may be surreptitiously gotten down the throats of an apathetic public." Blechman's drawings are potent pills. His deceivingly simple graphic approach is wily camouflage for the social, cultural, and political satires that make up his oeuvre. His goal is to subvert the commonplace, disarms the viewer, and then, like a victorious general, occupy the senses—all with shaky line and steady wit.

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Writing used to be a solitary profession. How did it become so interminably social?

Whether we’re behind the podium or awaiting our turn, numbing our bottoms on the chill of metal foldout chairs or trying to work some life into our terror-stricken tongues, we introverts feel the pain of the public performance. This is because there are requirements to being a writer. Other than being a writer, I mean. Firstly, there’s the need to become part of the writing “community”, which compels every writer who craves self respect and success to attend community events, help to organize them, buzz over them, and—despite blitzed nerves and staggering bowels—present and perform at them. We get through it. We bully ourselves into it. We dose ourselves with beta blockers. We drink. We become our own worst enemies for a night of validation and participation.

Even when a dentist kills an adored lion, and everyone is furious, there’s loftier righteousness to be had.

Now is the point in the story of Cecil the lion—amid non-stop news coverage and passionate social-media advocacy—when people get tired of hearing about Cecil the lion. Even if they hesitate to say it.

But Cecil fatigue is only going to get worse. On Friday morning, Zimbabwe’s environment minister, Oppah Muchinguri, called for the extradition of the man who killed him, the Minnesota dentist Walter Palmer. Muchinguri would like Palmer to be “held accountable for his illegal action”—paying a reported $50,000 to kill Cecil with an arrow after luring him away from protected land. And she’s far from alone in demanding accountability. This week, the Internet has served as a bastion of judgment and vigilante justice—just like usual, except that this was a perfect storm directed at a single person. It might be called an outrage singularity.

Most of the big names in futurism are men. What does that mean for the direction we’re all headed?

In the future, everyone’s going to have a robot assistant. That’s the story, at least. And as part of that long-running narrative, Facebook just launched its virtual assistant. They’re calling it Moneypenny—the secretary from the James Bond Films. Which means the symbol of our march forward, once again, ends up being a nod back. In this case, Moneypenny is a send-up to an age when Bond’s womanizing was a symbol of manliness and many women were, no matter what they wanted to be doing, secretaries.

Why can’t people imagine a future without falling into the sexist past? Why does the road ahead keep leading us back to a place that looks like the Tomorrowland of the 1950s? Well, when it comes to Moneypenny, here’s a relevant datapoint: More than two thirds of Facebook employees are men. That’s a ratio reflected among another key group: futurists.

Even when they’re adopted, the children of the wealthy grow up to be just as well-off as their parents.

Lately, it seems that every new study about social mobility further corrodes the story Americans tell themselves about meritocracy; each one provides more evidence that comfortable lives are reserved for the winners of what sociologists call the birth lottery. But, recently, there have been suggestions that the birth lottery’s outcomes can be manipulated even after the fluttering ping-pong balls of inequality have been drawn.

What appears to matter—a lot—is environment, and that’s something that can be controlled. For example, one study out of Harvard found that moving poor families into better neighborhoods greatly increased the chances that children would escape poverty when they grew up.

While it’s well documentedthat the children of the wealthy tend to grow up to be wealthy, researchers are still at work on how and why that happens. Perhaps they grow up to be rich because they genetically inherit certain skills and preferences, such as a tendency to tuck away money into savings. Or perhaps it’s mostly because wealthier parents invest more in their children’s education and help them get well-paid jobs. Is it more nature, or more nurture?

Forget credit hours—in a quest to cut costs, universities are simply asking students to prove their mastery of a subject.

MANCHESTER, Mich.—Had Daniella Kippnick followed in the footsteps of the hundreds of millions of students who have earned university degrees in the past millennium, she might be slumping in a lecture hall somewhere while a professor droned. But Kippnick has no course lectures. She has no courses to attend at all. No classroom, no college quad, no grades. Her university has no deadlines or tenure-track professors.

Instead, Kippnick makes her way through different subject matters on the way to a bachelor’s in accounting. When she feels she’s mastered a certain subject, she takes a test at home, where a proctor watches her from afar by monitoring her computer and watching her over a video feed. If she proves she’s competent—by getting the equivalent of a B—she passes and moves on to the next subject.

The Wall Street Journal’s eyebrow-raising story of how the presidential candidate and her husband accepted cash from UBS without any regard for the appearance of impropriety that it created.

The Swiss bank UBS is one of the biggest, most powerful financial institutions in the world. As secretary of state, Hillary Clinton intervened to help it out with the IRS. And after that, the Swiss bank paid Bill Clinton $1.5 million for speaking gigs. TheWall Street Journal reported all that and more Thursday in an article that highlights huge conflicts of interest that the Clintons have created in the recent past.

The piece begins by detailing how Clinton helped the global bank.

“A few weeks after Hillary Clinton was sworn in as secretary of state in early 2009, she was summoned to Geneva by her Swiss counterpart to discuss an urgent matter. The Internal Revenue Service was suing UBS AG to get the identities of Americans with secret accounts,” the newspaper reports. “If the case proceeded, Switzerland’s largest bank would face an impossible choice: Violate Swiss secrecy laws by handing over the names, or refuse and face criminal charges in U.S. federal court. Within months, Mrs. Clinton announced a tentative legal settlement—an unusual intervention by the top U.S. diplomat. UBS ultimately turned over information on 4,450 accounts, a fraction of the 52,000 sought by the IRS.”

During the multi-country press tour for Mission Impossible: Rogue Nation, not even Jon Stewart has dared ask Tom Cruise about Scientology.

During the media blitz for Mission Impossible: Rogue Nation over the past two weeks, Tom Cruise has seemingly been everywhere. In London, he participated in a live interview at the British Film Institute with the presenter Alex Zane, the movie’s director, Christopher McQuarrie, and a handful of his fellow cast members. In New York, he faced off with Jimmy Fallon in a lip-sync battle on The Tonight Show and attended the Monday night premiere in Times Square. And, on Tuesday afternoon, the actor recorded an appearance on The Daily Show With Jon Stewart, where he discussed his exercise regimen, the importance of a healthy diet, and how he still has all his own hair at 53.

Stewart, who during his career has won two Peabody Awards for public service and the Orwell Award for “distinguished contribution to honesty and clarity in public language,” represented the most challenging interviewer Cruise has faced on the tour, during a challenging year for the actor. In April, HBO broadcast Alex Gibney’s documentary Going Clear, a film based on the book of the same title by Lawrence Wright exploring the Church of Scientology, of which Cruise is a high-profile member. The movie alleges, among other things, that the actor personally profited from slave labor (church members who were paid 40 cents an hour to outfit the star’s airplane hangar and motorcycle), and that his former girlfriend, the actress Nazanin Boniadi, was punished by the Church by being forced to do menial work after telling a friend about her relationship troubles with Cruise. For Cruise “not to address the allegations of abuse,” Gibney said in January, “seems to me palpably irresponsible.” But in The Daily Show interview, as with all of Cruise’s other appearances, Scientology wasn’t mentioned.

Some say the so-called sharing economy has gotten away from its central premise—sharing.

This past March, in an up-and-coming neighborhood of Portland, Maine, a group of residents rented a warehouse and opened a tool-lending library. The idea was to give locals access to everyday but expensive garage, kitchen, and landscaping tools—such as chainsaws, lawnmowers, wheelbarrows, a giant cider press, and soap molds—to save unnecessary expense as well as clutter in closets and tool sheds.

The residents had been inspired by similar tool-lending libraries across the country—in Columbus, Ohio; in Seattle, Washington; in Portland, Oregon. The ethos made sense to the Mainers. “We all have day jobs working to make a more sustainable world,” says Hazel Onsrud, one of the Maine Tool Library’s founders, who works in renewable energy. “I do not want to buy all of that stuff.”

An attack on an American-funded military group epitomizes the Obama Administration’s logistical and strategic failures in the war-torn country.

Last week, the U.S. finally received some good news in Syria:.After months of prevarication, Turkey announced that the American military could launch airstrikes against Islamic State positions in Syria from its base in Incirlik. The development signaled that Turkey, a regional power, had at last agreed to join the fight against ISIS.

The announcement provided a dose of optimism in a conflict that has, in the last four years, killed over 200,000 and displaced millions more. Days later, however, the positive momentum screeched to a halt. Earlier this week, fighters from the al-Nusra Front, an Islamist group aligned with al-Qaeda, reportedly captured the commander of Division 30, a Syrian militia that receives U.S. funding and logistical support, in the countryside north of Aleppo. On Friday, the offensive escalated: Al-Nusra fighters attacked Division 30 headquarters, killing five and capturing others. According to Agence France Presse, the purpose of the attack was to obtain sophisticated weapons provided by the Americans.

Two hundred fifty years of slavery. Ninety years of Jim Crow. Sixty years of separate but equal. Thirty-five years of racist housing policy. Until we reckon with our compounding moral debts, America will never be whole.

And if thy brother, a Hebrew man, or a Hebrew woman, be sold unto thee, and serve thee six years; then in the seventh year thou shalt let him go free from thee. And when thou sendest him out free from thee, thou shalt not let him go away empty: thou shalt furnish him liberally out of thy flock, and out of thy floor, and out of thy winepress: of that wherewith the LORD thy God hath blessed thee thou shalt give unto him. And thou shalt remember that thou wast a bondman in the land of Egypt, and the LORD thy God redeemed thee: therefore I command thee this thing today.

— Deuteronomy 15: 12–15

Besides the crime which consists in violating the law, and varying from the right rule of reason, whereby a man so far becomes degenerate, and declares himself to quit the principles of human nature, and to be a noxious creature, there is commonly injury done to some person or other, and some other man receives damage by his transgression: in which case he who hath received any damage, has, besides the right of punishment common to him with other men, a particular right to seek reparation.